Pride and Prejudice (1940)

The 1940 film adaptation of Jane Austen’s Pride and Prejudice, directed by Robert Z. Leonard and starring Greer Garson and Laurence Olivier, stands as an intriguing fusion of Regency wit and 1940s Hollywood gloss. With its blend of elegant costuming, theatrical performances, and a few liberties taken with the original plot, this adaptation may not be the most faithful to Austen’s text, but it certainly is one of the most visually delightful and sociably entertaining versions to ever grace the silver screen.

Plot Summary (with deviations)

As in Austen’s 1813 novel, the plot follows the five Bennet sisters—especially the intelligent and sharp-tongued Elizabeth Bennet—as they navigate the perilous world of Georgian-era courtship and class-conscious social dynamics in the English countryside. Elizabeth’s wit and independent spirit clash with the proud and aloof aristocrat Mr. Darcy, until both eventually overcome their prejudices and pride to discover a genuine affection for one another.

The film retains the essential plot structure, including key episodes such as Mr. Collins’ ludicrous marriage proposal, Lydia’s elopement with the rakish Mr. Wickham, and Darcy’s climactic declaration of love. However, this adaptation transposes the setting to the 1830s rather than the 1810s—chiefly to justify the opulent, bustle-heavy costumes—and tones down much of the novel’s subtle social commentary in favour of romantic charm and comic exaggeration.

Performances

Greer Garson, in her first major starring role, gives us an Elizabeth Bennet who is more regal and polished than Austen’s original creation. At 36, Garson was significantly older than the teenage Lizzy of the book, but her performance is radiant. Her Lizzy is playful, intelligent, and self-assured, though some viewers may find her less feisty and more decorous than Austen's more spirited heroine.

Laurence Olivier, fresh off his success in Wuthering Heights, plays Mr. Darcy with the brooding confidence he would bring to many of his Shakespearean roles. His Darcy is stiffly elegant, almost excessively reserved at times, but he eventually shows emotional depth and vulnerability. Olivier captures Darcy’s internal conflict with skill, although this version of the character is less forbidding and more conventionally “dashing” than the prideful, socially awkward figure of the novel.

Edna May Oliver shines as the formidable Lady Catherine de Bourgh, delivering each line with acidic authority, and Mary Boland adds comic relief as the absurdly fluttery Mrs. Bennet. Melville Cooper’s Mr. Collins is a particular highlight—obsequious, pompous, and utterly unaware of his own ridiculousness, drawing big laughs while still making the viewer wince.

Direction and Visual Style

Robert Z. Leonard, a seasoned MGM director, brings a polished, theatrical sensibility to the film. The direction is efficient, if not overly inventive, but the real star is the production design and costuming.

MGM spared no expense in crafting lavish interiors, sprawling gardens, and exquisite costumes—even if historically they reflect the 1830s more than Austen’s early 19th century. The gowns, parasols, and crinoline skirts are dazzling, though historically inaccurate. It’s a classic example of Hollywood’s tendency to prioritize spectacle over fidelity to source material.

Cinematographer Karl Freund, best known for his work on Metropolis and Dracula, lends the film a refined, warm glow that accentuates its romantic tones. While the camera work is largely straightforward, there are moments—particularly during Lizzy and Darcy’s confrontations—where framing and lighting create genuine dramatic tension.

Screenplay and Adaptation Choices

The screenplay was co-written by Aldous Huxley, the famed novelist of Brave New World, along with screenwriter Jane Murfin. The script remains generally faithful in structure but diverges in tone.

Notable adaptation choices include:

A softened Darcy: His initial abrasiveness is downplayed to make him more palatable as a romantic lead.

Elizabeth’s independence is more tempered: She is still witty, but less rebellious and more conventionally romantic.

The humour is amplified: Scenes are often played for overt comedy, especially those involving Mrs. Bennet, Mr. Collins, and Lady Catherine.

A hastier ending: The resolution feels more sudden and light-hearted than the novel’s careful emotional payoff.

These choices make the film more accessible and “Hollywood-friendly,” though they strip away some of Austen’s social critique and psychological nuance.

Themes and Tone

While the film retains many of the core themes of Austen’s novel—class, marriage, pride, prejudice—it emphasizes romantic fulfilment and genteel comedy over the novel’s social satire and moral growth.

It also leans into a 1930s-40s romantic comedy style, with sharp dialogue and witty banter replacing some of the novel’s introspective monologues. In tone, it resembles the screwball comedies of the era, albeit dressed in empire gowns.

Despite the tonal shift, the film’s heart remains aligned with Austen’s belief in self-awareness, humility, and love based on mutual respect.

Reception and Legacy

Upon its release, Pride and Prejudice (1940) was well received by both audiences and critics. It won the Academy Award for Best Art Direction (Cedric Gibbons and Paul Groesse) and earned praise for its witty script, performances, and sumptuous production values.

Over the decades, however, it has come to be viewed as a charming but dated interpretation—overshadowed by later, more faithful adaptations, such as the 1995 BBC miniseries with Colin Firth and Jennifer Ehle, or the 2005 film starring Keira Knightley and Matthew Macfadyen.

Still, it remains a significant moment in Hollywood's golden age, both as an early example of literary adaptation and for helping introduce Jane Austen to wider American audiences.

Conclusion

While the 1940 Pride and Prejudice is not the most faithful adaptation of Jane Austen’s novel, it is a delightful and spirited period film in its own right. With its charismatic leads, rich production design, and emphasis on wit and elegance, it offers a glimpse into how classic literature was interpreted through the lens of MGM’s golden-era style.

A perfect entry point for newcomers to Austen and a nostalgic treat for classic film fans, it succeeds more as a romantic comedy of manners than as a mirror of Austen’s more intricate social tapestry—but it does so with charm and sincerity.

A stylish, spirited adaptation that prioritizes Hollywood elegance over strict fidelity—but wins hearts with warmth and wit.